In the last decade, the proliferation of corporate non-places has been accompanied by the spread of cyberspace-time, or Itime, a distributed or unpunctuated temporality. It’s no coincidence that, as this unmarked time increasingly came to dominate cultural and psychic space, Derrida’s concept hauntology (re)emerged as the name for a paradoxical zeitgeist. In ‘Specters of Marx’, Derrida argued that the hauntological was characterised by “a time out of joint”, and this broken time has been expressed in cultural objects that return to a wounded or distorted version of the past in flight from a waning sense of the present. Sometimes accused of nostalgia, the most powerful examples of hauntological culture actually show that nostalgia is no longer possible. In conditions where pastiche has become normalised, the question has to be: nostalgia compared to what?

James Bridle has recently argued that “the opposite of hauntology ... [is] to demand the radically new”, but hauntology in fact operates as a kind of thwarted preservation of such demands in conditions where - for the moment at least - they cannot be met. Whereas cyberspace-time tends towards the generation of cultural moments that are as interchangeable as transnational franchise outlets, hauntology involves the staining of particular places with time - albeit a time that is out of joint. In this lecture, Fisher will explore the hauntological culture of the last few years in relation to the question of place, using examples from music (Burial, The Caretaker, Ekoplekz, Richard Skelton), film (Chris Petit, Patrick Keiller) and fiction (Alan Garner, David Peace).